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Opening Statement
Get PDFThe 'Opening Statement' presented at the 14th International Illustration Research Symposium by the chair, Dr Rachel Emily Taylor.
On 22 and 23 November 2024, the Illustration Programme at Camberwell College of Arts, University of the Arts London (UAL), hosted the 14th International Illustration Research Symposium, 'Illustration & Heritage: Sharing Histories to Draw Out Futures'. The symposium explored active processes of heritage-making through digital, institutional, and communal archives and collections, illustrative and co-illustrative methodologies, the making and giving of a ‘voice’, understanding and communicating artefacts, and looking at architecture as a historical material, among other practices.
The 14th Illustration Research Symposium was held at UAL’s Chelsea College of Arts and will include panels, papers, and posters by practitioners and researchers from the fields of illustration, heritage, architecture, anthropology, and more. The symposium considered principles including inheritance, displacement, collective memory, subjectivity, and plurality. How do contemporary illustrators participate in historical narratives and give voice to people and communities — remembered, obscured, and imagined — through their work?
The 14th Illustration Research Symposium included keynotes from Dan Hicks, curator and Professor of Contemporary Archaeology at the University of Oxford, Yeni Kim, illustrator and Associate Professor at Hongik University, and Chris Lee, graphic designer and Assistant Professor at the Pratt Institute, as well as panels on heritage-making as a form of knowledge production, illustration, AR, architecture, and materiality. Speakers included English Heritage, Royal Museums Greenwich, Lamya Sadiq, Catrin Morgan, Rudy Loewe, Amy Goodwin, Jaleen Grove.
The symposium was curated in response to 'Illustration and Heritage', by Rachel Emily Taylor, published in 2024 by Bloomsbury Press. It was organised in partnership with Quentin Blake Centre for Illustration, the Association of Illustrators, and Illustration Educators.
The symposium was led by Rachel Emily Taylor, supported by Billie Muraben, Bryony Quinn, Abbie Vickress, Dr Amy Goodwin, Adrian Holme, and Clare Lowther
OrtaWater Purification Factory
No full textFor the second Diriyah Contemporary Art Biennale in Riyadh titled 'After Rain', the installation 'Orta Water Purification Factory' (2012) was selected for exhibition.
'After Rain' as a curatorial concept signals a moment of revitalisation and renewal, a nurturing entity, filled with life, while acknowledging the necessity of water for all forms of life that dwell and seek shelter on our planet. A combination of practices explored the themes of inhabiting, cultivating, harvesting, searching, and sharing.
In previous iterations of the installation 'OrtaWater Purification Factory' polluted water from local sources such as rivers or canals is filtered in the installation and distributed to audiences demonstrating the technological simplicity of making water more accessible. The work poses wider questions such as the access to water that will significantly increase in the future due to climate change. This resonates specifically with the biennale audiences who already face the challenges relating to the scarcity of water in desert climates and supply of clean drinking water
Against an Architecture of Neoliberal Technocracy: Lessons from (the Dissolution of) the Architecture of the Welfare State in Britain
No full textAs another history of the present, Against an Architecture of Neoliberal Technocracy: Lessons from (the Dissolution of) the Architecture of the Welfare State in Britain problematises the contemporary disappearance of the architectures of social welfare. It addresses the dismantling of the welfare state in Britain and the transition to a state of neoliberal technocracy. The book argues that it was through the proliferation of specific technocratic operations in the production of the built environment that these changes became possible and the deployment of neoliberal forms of governance were facilitated as actions at a distance that direct our behaviours. It aims to be a critique, and a call, to re-define the role of architecture as a mechanism of social governance where the use value of architecture is prioritised against its subjective exchange value
LOVED: Empathy Engine
No full textLOVED: Empathy Engine is the latest installation in the series of exhibitions titled LOVED. Installed in The Old Library at the Crown and Anchor historical Inn in Provincetown, Mass, USA.
Whilst we perform various versions of ourselves, beneath the surface there are shared anxieties and personal truths.
LOVED is about looking at those emotions, about finding out what we are, and exploring the inter-sectional realities of our identities.
The show consists of multi-channel Dolby Atmos Audio and light and space to tell a unique story that includes interviews with Queer men
A mother's guide to love
No full textA Mother's Guide to Love: Eve Lin (text by curator, Leila Nassereldein)
We must never assume that we are fully aware of what we communicate to someone else - Edward T. Hall, American Cultural Anthropologist
This immersive installation explores the unspoken language of care, inspired by the silent ritual of burning paper money as offerings in Taiwanese culture. Designer Eve Lin reimagines this tradition through virtual garments adorned with intricate patterns drawn from Buddhist imagery.
In a virtual world of their own creation, Lin offers a sanctuary for collective care, where avatars adorned in these designs reference the profound depths of implicit maternal love. This sanctuary extends into the exhibition space, where cushions, iterating textile patterns from the virtual world, invite visitors to rest and recharge. As viewers navigate this blended digital and physical landscape, they are invited to contemplate the multifaceted meanings of quietude and love, as expressed through fashion and cultural practice. This immersive experience challenges conventional notions of communication, highlighting the power of digital media to bridge cultural divides and illuminate the unspoken messages that bind us together.
A Mother’s Guide to Love, film with sound, 2024
In Collective Care
Through fashion, art, and social commentary, six artists explore care's many faces — from intimate love to radical global responsibility. Discover how self-care blossoms into collective action, challenging us to rewrite shared histories, redefine personal boundaries, and weave a tapestry of empathy and compassion.
Collective Care reminds us that true well-being lies in our connection to each other and the world around us. Join us in exploring a more just and sustainable future, built on mutual support and shared responsibility.
Collective Care showcases the work of researchers, designers and artists affiliated with LCF who challenge us to see care in all its forms; Yunpei Li, Katelyn Toth-Fejel, Dr. Mila Burcikova, Charlotte Hodes, Eve Lin and collaborators Amy Goodwin, Leah Gouget-Levy, and Susan Zheng
Give Me Shelter
No full textArtists
Aymara Alvarado Lang (Gatineau), Arquitectura Expandida (Bogotá), Center for Urban Pedagogy (New York), Abigail Child (New York), Tony Cokes (New York), Guerilla Girls (New York), Joar Nango and Tanya Busse (Tromsø), Kika Thorne and Adrian Blackwell (Toronto) / October Group and February Group, Michael Rakowitz (Chicago), Neal Rockwell (Montréal), Frank Shebageget (Ottawa) and Andrea Luka Zimmerman (London)
Curators
Jason St-Laurent (Ottawa) and Serkan Taycan (Istanbul)
Advisor: Stefan St-Laurent (Gatineau)
The exhibition Give Me Shelter presents 12 artistic responses to the issue of housing insecurity and homelessness over the last few decades, featuring work by Canadian and international artists and architects. Focused on social practice and community activism, the participating artists propose a wide range of projects that shed light on this ever-pressing issue. Together, the works in the exhibition urge us to consider how we might create more equitable and compassionate systems that provide safe housing for all.
Give Me Shelter is the inaugural edition of SAW’s new triennial exhibition of art and activism
Impact of Virtual Exchange on teachers’ and student teachers’ professional development
Get PDFWhile the COVID- 19 pandemic presented challenges to the teaching profession, it also catalysed a broader awareness of online opportunities for teachers to engage in professional development to support emergency remote teaching and learning. A recent systematic review of online professional development programs (OPD; Bragg et al., 2021) reveals that online opportunities for teacher development are on the rise and that they positively impact teacher self- efficacy and instructional practices in general. Moreover, they conclude that the common ingredient in successful OPD was teachers engaging in peer- to- peer discussion. In a similar manner, a recent meta- analysis by Kennedy (2016) suggests that successful professional development is characterised by focussing on content knowledge aligned to a broader goal and through collective participation where experts and non- experts work to achieve the goal, for example, to evaluate teaching strategies or develop lesson plans together. Peer- to- peer discussion and collaboration around a task are hallmarks of Virtual Exchange (VE) and, in this way, provide a rich environment to support teacher development. For example, O’Dowd and Dooly (2022) found that VE helped foreign language teacher educators evolve their teaching practices through innovative approaches
Refugees’ Storytelling Strategies on Digital Media Platforms: How the Russia–Ukraine War Unfolded on TikTok
Get PDFThe article discusses how TikTok has emerged as a platform for self-representation and political contestation during the Russia–Ukraine war. Shortly after the beginning of the conflict, journalists and broadcasters have begun to associate the events unfolding in those countries with the widespread use of this platform among young content creators, refugees, soldiers, and civilians. Described as the “first TikTok war” or as “WarTok,” the conflict in Ukraine represents an important example to look at to uncover the increasingly central role of platforms as spaces where conflicts can be witnessed, documented, and shared with global audiences in real time. The research findings illustrate how TikTok becomes a space where material and affective practices of “performed refugeeness” can become visible and viral due to its unique language, formatting style, and highly personalized narratives, while creating a transnational streaming of war-related discourses that not only bypass traditional circuits of news sharing, but also activate a digital care network that crosses borders and connects diverse digital publics. While the study is small scale to account for a more in-depth narrative analysis of TikTok videos, it nevertheless returns significant insights into refugees’ digital storytelling strategies in conflict areas
Soulscapes
No full text'Soulscapes' was a group exhibition held in 2024 at the Dulwich Picture Gallery in London. Curated by the Managing Director of the Black Cultural Archives, Lisa Anderson, it featured painting, photography, film, textile and collage by 21 artists, including four paintings by Kimathi Donkor.
The museum announced that the show would "explore our connection with the world around us, highlighting the power of landscape art and reflecting on themes of belonging, memory, joy and transformation."
The ticketed exhibition was accompanied by a programme of public events, which included a panel talk with Kimathi Donkor, Phoebe Boswell, Lisa Anderson, chaired by Nancy Durrant on 9th March, as well as a 'Soulscapes Late' event on 31st May in which Camberwell College of Art BA Painting students developed and presented work in response to the exhibition.
The show was accompanied by a 110-page catalogue, edited by Lisa Anderson, which included a removable print of Donkor's painting 'On Episode Seven' and an interview with the artist. Soulscapes was reviewed in several major publications, including the Evening Standard, The Art Newspaper and The Guardian.
List of works by Kimathi Donkor:
Mumbi's Return (2019)
Call Me Blessed (2016)
On Episode Seven (2020)
Idyl of Abar and Piye (2021)
List of participating artists:
Njideka Akunyili Crosby, Hurvin Anderson, Michael Armitage, Phoebe Boswell, Kimathi Donkor, Jermaine Francis, Ebony G. Patterson, Alain Joséphine, Isaac Julien, Christina Kimeze, Che Lovelace, Kimathi Mafafo, Marcia Michael, Mónica de Miranda, Harold Offeh, Nengi Omuku, Sikelela Owen, Ravelle Pillay, Alberta Whittle, EVEWRIGHT, Michaela Yearwood-Da
[..] a good lesson in accepting a duet for what it is
No full textIn the panel 'Showing the Work: Feminist archival practice and exhibition'
What is at stake in the exhibition of textual materials, scores, instructions, publications and other ephemera? At a time when archival materials are increasingly present in international exhibition-making – not least in Women In Revolt! – is it possible to gesture towards not only the liveness of such materials but the social materiality of their iterative and enfolding live or performed contexts? Specifically concerned with (feminist) works that blur the distinction between the archive and the art collection, this contribution will consider examples of collaborative curatorial approaches that complicate narratives – to position that it is a not a matter of finding ways to ‘fit’ such practices into institutions but rather of listening to the re-imagining of institutions that such works themselves imply